the arm movement method of rapid writing -...

EASY TO LEARNEASY TO TEACH

ildS 6

EASY TO WRITEEASY TO READ

EW, TRUE AND TRIED METHOD OF TEACHING AND LEARNING A RAPID. PRACTICAL HAND.STARTING AT THE AGE OF TEN YEARS AND PROGRESSING SYSTEMATICALLY

STEP BY STEP THROUGH SCHOOL INTO ACTUAL LIFE.

UIDE AND INSPIRATION FOR THE TEACHER; A SCIENTIFIC SELF INSTRUCTOR FOR THE HOMESTUDENT; AND A SAFE AND SURE METHOD FOR ALL WHO DESIRE TO WRITE SUCH A

HAND AS THE PRESENT NEEDS AND THE FUTURE WILL DEMAND.

BY C. ZANERNDER OF AND CHIEF INSTRUCTOR IN THE ZANERIAN COLLEGE OF PENMANSHIP; EOiTOR i F THE

Educator, a Journal of Penmanship and Business Education; and Ao'hor ofNumerous Works on Penmanship. Engrossing and Pen Art.

JSINESS

PUBLI SHED BY

!aner & Bloser CompanyCOUUM BUS, O.

FtB'1908

COPYR IGHTI904.

By ZANER & BLOSER

-Z-IL,

PREFACEWriting should be plain and rapid. The business world demands it. Slow

writing is out of date, and illegible writing is inexcusable, annoying, and dangerous.A good handwriting being now within the reach of all, a poor one is a disgrace.

Copybooks and vertical writing have fostered form at the expense of freedom,and slow, cramped finger movement writing has resulted. Speed and muscularmovement theories have fostered freedom at the expense of form, and reckless,scrawling, illegible writing has been the rule.

Form without freedom is of little value, and freedom without form is folly.Form and freedom must go hand in hand or failure follows.

The Arm Movement Method of Rapid Writing is based upon form and move-ment, neither being sacrificed as both are absolutely essential to success. Thework is so planned and graded that form and movement for the first time aredeveloped together successfully and scientifically from the beginning, the simplepreceding and leading to the complex.

To simplify the learning, insure legibility , facilitate execution, and develop thehighest possible sgead, the forms have been so simplified and constructed that themaximum of ease, plainness, and speed is attained.

For the first time we have simpleness of form without slowness of execution;plainness without stiffness, as in the vertical; and freedom without -ecklessness.

Simplicity of form is essential in order that all may acquire the art. Forsimple forms not only mean ease in reading, but ease in execution, as well as thehighest possible speed. Ease in acquisition and execution, plainness in form, andrapidity in writing are the essentials of successful writing, and the Arm MovementMethod comprises the same to a greater degree than any other.

The copies were all written freely, even rapidly, with the peu and not drawnslowly for the sake of accuracy. They are therefore practical rather than technical,and serve to illustrate not only form but movement as well.

II oSoWHY PEOPLE WRITE POORLY.

That there is more poor than good writing in the world, no one will deny. And that people in general do notwrite poorly intentionally, but are unable to write well, no one will deny. Why then are people unable to write better?The correct answer will lead to the correct solution of the heretofore unsolved problem.

Why people write poorly may be attributed to three things, any one of which will seriously interfere with, if notwholly defeat, a good handwriting.

The first of these three things which stand in the way of learning and writing a good hand is the teaching ofchildren to write before they are old enough to learn rightly, and the requiring of writing from children before theyhave been taught to write well. This of itself lays the foundation of poor instead of good writing, because it encour-ages and develops the two evils which block the way to good writing—excessive finger movement and gripping. Theseare the natural results of premature writing and immature minds and bodies. Finger movement and gripping arethe direct and unavoidable results of teaching and requiring children to write a small hand. And so long as thisrequirement is demanded and continued, slow, cramped, drawn writing will be the result.y^ The remedy is to require less writing on the part of children and to allow them to write large enough so that they^ill of their own accord use the arm instead of the finger movement.

The second reason why people write poorly is that the forms heretofore taught have been too complex and difficultfor everyone, or even a majority, to acquire and execute. (The vertical, however, was too print-like, being therebyslow and clumsy in appearance.) Writing must be suited to the natural ability of the many rather than to thedexterity of the few who desire to become professional penmen. The author of the Arrri Movement Method of RapidWriting was the first to recognize this condition, and as a result the forms herein presented are at once simple, with-'6ut being slow, plain, without being clumsy, and rapid, without being scrawly.

The third reason why people write poorly is that they have not been trained in the arm movement; except the fewwho have attended a school of penmanship or a business college and received instruction from a professional penman.And where finger movement and gripping have become a habit, it requires special effort to overcome these evils andto acquire the true way. But this is now made possible and comparatively easy by the aid of the graded course ofexercises and concise instructions given in this manual.

WHAT IS GOOD WRITING?Good writing is that whic^i is easily read and easily and rapidly written. To be easy and rapid in execution, it

needs to be simple in construction, normal in slant, and natural in action.The Arm Movement Method of Rapid Writing is plain, simple in construction, medium in slant, easy and natural

in movement, and capable of the highest speed. Moreover, it is easy to acquire as compared with the usual com-plex, skillful hand, and therefore within the reach of all.

WHO CAN LEARN TO WRITE WELL?The Arm Movement Method of Writing is so simple in form and natural in construction that all can learn to write

well who are not deformed, and who are willing to follow the instructions and practice the copies as given.Writing as here presented has been shorn of its complexities and difficulties, bringing it within the normal

reach of all.All cannot learn to write equally well, but no one need despair. The art is so planned and presented that plain,

easy writing is an assured fact for all who are not indifferent to the importance of a good handwriting and who arereasonably ambitious to possess it.

THE WORTH AND PRICE OF A GOOD HANDWRITING.The worth of a good hand writing cannot accurately be estimated, but its worth is in some measure determined

hv *>!'• fact that it is eagerly sought, and that its possessor finds it a ready and valued servant at all times, as wellStepping stone to something better and higher. All other things being equal, the one possessing a good hand

senstS gets the desired position, and the one who writes poorly loses it.

Its greatest worth, however, cannot be measured In dollars and cents, as it is a constant aid in acquiring, express-ing, and recording information, being cultural as well as practical. Moreover, it is a life companion, ever ready to helpif it is good, or to hinder if it is bad, in the struggle for advancement and success.

The price of a good hand writing is not talent but toil. Study and practice backed by determination is sure tobring results. Of course, to become a masterful penman, takes talent as well as toil, but to learn to write a good,rapid hand, common sense and persevering practice are all that is needed.

One can, in a few months, learn to write such a hand that writing ever after will be a pleasure and benefit. Nowis the time to begin. Be wise today, and be a good penman, by beginning the study and practice herein outlined foryour benefit.

STUDY AND PRACTICE.Two things are essential to success in learning to write. Tlie first is study and the second is practice. Neither

ane alone can produce good results, but the two combined insures success. ,Study is necessary to learn the form of letters and to decide upon the method of their production. fStudy is also

necessary to detect mistakes and dictate the remedy/ '^

Practice Is necessary to learn to produce the form which study has evolved. Practice is necessary to train themuscle to obey the dictates of the mind. It is only by practice that we become proficient In writing as in other things.

Studied practice tends toward pixrfection. Remember, not study alone nor practice alone, but the two combinedare the essentials to success.

FORM AND MOVEMENT.Failure follows when form is considered alone, or when movement is considered alone; but success follows when

form and movement are combined. Form is essential to give legibility, and movement is essential to facilitateexecution.

If the form is simple and graceful in construction, the movement necessary for its production must be of likecharacter; it must be simple and graceful also. If the movement is wild and awkward, scrawling, awkward formsmust necessarily be the result.

Persons sometimes say "I have the movement all right, but there is something wrong with the form of theletters." The facts are that the movement is not right or the forms would be right, for forms are but pictures ofmotions. And as it is a poor rule that will not work both ways, we can also as truthfully say that motions are butpictures of forms.

Therefore, form and movement need to go hand In hand, as forms are necessary for movements to act upon, andmovements are necessary to create and multiply forms.

The sayings, "sacrifice form for movement." and "sacrifice movement for form," are each one-sided and revealthat both are but half truths, which, if combined, sacrifice neither form nor movement, and produce a perfectwhole, as well as practical writing.

THE ARM MOVEMENT.There are a number of movements employed in writing, it being impossible to write with one set of muscles and

with one movement or motion.The fingers are too short to propel the pen rapidly and easily, and, as a natural consequence, they soon tire and

fail to do the work easily and well. Finger movement is easily acquired but tiring to use, and inadequate to meetmodern commercial needs.

Arm movement is what its name implies; the use of the arm instead of the fingers to propel the pen. Themuscles of the arm are strong and powerful and are capable of doing a great deal with but little sense of tire orexhaustion.

The true function of the fingers is to hold the pen while the arm propels it. They may also assist in minordetails, but nothing more.

•^''

Arm movement Is somewhat difficult to acquire and control, but when once mastered it is then easy and pleasu ^^able. Arm movement makes writing graceful, easy, and forceful, and is therefore suited to the demands of buslne^ ^

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As presented in this manual, arm movement is the most scientific method of writing ever published, being thesame as used by the world's leading penmen, and as evolved by the author after twenty years of experiment, study,practice, and observation.

You will therefore make no mistake to acquire it and to teach it to others.

HOW TO ACQUIRE THE ARM MOVEMENT.Let the full weight of the fore-arm rest on the fleshy part just forward of the elbow, the latter extending over the

edge of the desk or table. In order that this fore-arm rest may be free to act in all directions without slipping uponthe table, the clothing from the elbow forward should be loose and large.

The hand should rest and glide upon the tips of the third and fourth fingers, or upon the little finger alone, eitherupon the nail or side of the first joint. See illustrations.

The fore-arm rest serves as the center of action and control, while the little finger serves as a gliding rest andcontrol. The latter aids in making figures and in such letters as o and a.

The muscles which cause the arm to move in and out the sleeve are situated about the shoulder. Those whichcause the fore-arm to move sidewise are situated on the upper-arm between the elbow and shoulder. The muscleswhich propel the fingers and hold the pen are situated in front of the elbow, and are, used as a cushion for the arm torest and act upon.

All of these muscles co-operate in what is termed Arm Movement, and need to be trained.The exercises in this manual are so arranged and graded as to develop this movement if the instructions are

followed.

TRAINING.

To train in any line, one must practice. It is only through intelligent practice that any art can be acquired. Itis only through intelligent practice that good penmanship is acquired. One must put the arm in motion and keep itin motion in order to train it to do things well. Therefore you must place the arm in action and keep it actinguntil improvement is produced, if you would learn to write well.

Repetition is necessary, as it takes many efforts to acquire anything so desirable as the art of writing. You musttherefore expect to put forth one effort after the other in the same direction until you accomplish your end. Themuscles of the arm are large and the forms used in writing are-«m^ll, therefore much careful practice is necessaryto train the muscles to act quickly and accurately.

But good writing is sure to follow careful and persistent practice. The task will at times seem difficult, but atmost, it need not exceed a few months, and when it is once acquired it will last a lifetime.

HOW TO PRACTICE.First, study critically the form to be practiced. See how many turns, angles, and loops it contains; how wide

and high; how slanting; etc. Endeavor to so Impress the form upon the mind that you can close your eyes and seeit plainly.

Second, retrace slowly with a dry pen the letter to be practiced. This will help to create a clear concept and adefinite knowledge of how the letter is constructed.

Third, practice freely with the arm movement the exercises until improvement is shown, even though it takes ahundred sheets of paper. Then go on to the letter, word, or sentence.

Fourth, criticise your practice very carefully, taking sufficient time to locate the principal fault and to decide upona remedy. Then endeavor to overcome the fa\iit and to acquire the correct mode and form the proper habit.

Fifth, endeavor to devote a certain amount of time each day to improve your penmanship.Sixth, do all of your writing with as much care as time will admit, for. after all. care is the one, main, common

sense essential of good writing.

BEFORE AMD AFTER.

Before beginning to practice from tliis booli write in yoiir very best hand, using black ink, the following:

This is a specimen of my penmanship before beginning study and practice in the A rm Movement Method of Rapid Writing.Sign your name and date the same.After practicing therefrom write, sign, and date the same as the al)ove and send the two to the publishers. If

sufficient improvement has been made, and your handwriting is good in form and movement, a beautiful certificateor diploma signed by the author, with .your name lettered thereon, will be granted, certifying to your skill and pro-ficiency. A charge of only fifty cents will be made lor engrossing name, mailing in tube, etc.

Now is your chance to get a good handwriting, and a diploma as well.

PERSONAL CRITICISMS.

Persons practicing from this manual who are desirous of receiving personal criticisms upon their practice, aswell as additional information and instruction, should write to the author, who will doubtless be able to provide theservices desired.

THE WRITING LESSON.

Materials should be good in quality, and orderly arranged. But little time should be spent in their distributionand collection.

The writing lesson should not follow active, outdoor exercise, and should come late rather than early in the day.Movement exercises should precede the practice of letters, words, and sentences. Movement needs careful, en-

thusiastic attention and drill.Counting is the best means of arousing enthusiasm, keeping the class working together, and giving definite ideas

as to how fast to write.Practice upon blank paper should precede the work in the book. Indeed, one or two lessons can very profitably

be given an piper before placing the worlv in the book.Position of body, pen holding, form, and movement need to be emphasized each lesson.

. Tlie blacl;bonr:' c!;ould be used to illustrate form, to criticise common faults, and to instruct by example.The c'pybook o.nr.ot do all; neither can the blackboard; but both are helps in the hands of a live, wide-awake,

enthusiastic, qualified teacher.

Keep form and movement as closely related as you can, at all times. Never divorce them.Kmph'ti/.J forni "ud movement, but do not neglect minor things as "trifles make perfection."Discr,nng3 pencil wriLing by encouraging pen writing from first to last.It's the backv.'ard pupil rather than the prodigy that needs your encouragement.

> Hell) a puuil to improve by first finding the error; second, by explaining the cause; and third, by giving a remedy.Devote about one-half of each lesson to movement drills and muscle training; the other half to form, and details

'•i execution.Learn to write well, as example is better than precept, and the two work best together.

MATERIALS.

Good pens, ink. paper, and holders are essential to go xl writing. The pen holder should be of wood or rubberand not of metal. The latter are dear at any price, and nat'iral wood are the best. Pens should be smooth and neithervery_fine nor coarse. Ink should be free flowing and as black as can be had, providing it is noncorrosive. Papershould be white, fairly smooth, firm, carefully ruled, and convenient in size.

Ho-,v good rather than how cheap should be your guide in purchasing supplies. As "a workman is known by histools." ro a penman may be known by his materials.

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HEALTH.

Good writing is the product of correct training. Correct training is dependent upon, or at least modified by. goodhealth Good health is the result of right living. Right living is the recognition and practice of norma! forces whichmay be termed sleep, food, and exercise. See that enough sleep is taken at the right time, which means during thenight time. See that your foods are healthful, well cooked, carefully selected in accordance with your needs, "andslowly eaten. Grains, vegetables, fruits, nuts, fish, and milk are healthful and less likely to be harmful than meits,coffees, pastries, etc. Try it and you will be convinced, E.xercise should be neither extremely heavy nor exciting, butmuch the same as in doing useful, serviceable things. Brisk walking is the best because it leads to free, open airbreathing, and erect posture.

Learn to live a simple, healthful life, learn to write a simple, serviceable hand, and life will last longer and be thebetter for it and for you.

COUNTING OR MARKING TIME.Counting is a means of uniforming the movement, keeping the class working enthusiastically together, and giving

an idea as to about how fast to practice. Exercises, principles, letters, and letter exercises (letters joined) can becounted for very successfully; but counting for words and sentences is impracticable, because not all letters are madeon the same time; that is, with the same speed.

The usual method of counting is with the voice, but time may be indicated by tapping, by the metronome, or bya musical instrument.

In exercises, one count is usually given for each down stroke; in principles, one or two counts for each; and inletters, two or three counts for each.

HOW FAST TO PRACTICE AND WRITE.It is very important to know about how fast to practice, as improvement and excellence depend upon it. Slow

writing is of little value as is also rapid scribbling. Slow writing is usually cramped writing, and should never bepracticed. Some say it is drawing, but such is not the case, as drawing is highly educational and valuable.

Some say "sacrifice form for movement and speed," but 3 tliincr nnoe sacrificed is hajrl^tojregain or bring to life.In slow writing freedom is sacrificed, and in rapid learning form is sacrificed. Both are extremes."

'

The true way is to practice neither very rapidly nor very slowly, which means with an easy, uniform, free, grace-ful arm movement.

In practicing upon such letters joined as u, n, m. and a. about 12.5 downward strokes should be made to theminute, and in such letters as o. c, r, and s, about 80 down strokes should be nia

^/m /?/ler6?9un/^9/lc///'^r/^/^y9i/^(7//'n^^^^^

producemusclesused to

P must

In writing, the principle may be represented by the lever and pulley Thepulley or string represents the power, the elbow or F represents the fulcrum,and the hand or W represents the weight. Power is thus used tomotion. It is nature's way to multiply motion. The large, powerfulof the upper-arm and shoulder are used to multiply motion—areincrease activity.

The boulder represents resistance; the pen represents activity.'/tt>iit

The muscles which move the fingers and open and close the hand are situated in the fore-arm, the larger portionbeing in front of the elbow. The muscles which move the fore-arm and cause it to act as a hinge at the elbow aresituated in the upper arm between the elbow and shoulder. The muscles which move the upper- and consequentlythe whole arm, are situated back, on top, and in front of the shoulder.

Thus it is that the muscles which move the fore-arm are situated on the upper-arm and somewhat removed fromthe member in action or being acted upon. These muscles act much as the string and pulley as illustrated in thechapter entitled "Penmanship Philosophy." Large, powerful muKcle.=i are therefore used to create many, small,rapid, continuous motions as used in writing.

These muscles are taught to act quite quickly and rapidly by correct and persistent training. The exercises,principles, letters, letter-exercises, words, etc. in this manual are used as penmanship gymnastic exercises to trainthe muscles to do the mind's bidding. It is only by such training that correct learning is possible. And it is onlythrough intelligent practice that improvement is sure to come. Intelligent practice implies knowledge of the machinewhich does the writing, to keep it in order, and to train it, and of the forms to be written, to know how best toconstruct and execute them.

PENMANSHIP PSYCHOLOGY.Mind manifests itself through the brain, spinal cord, nerves, and muscles. Brain seems to be the dynamo in which

mind generates power or manifests itself. The spinal cord is the main channel through which the mind acts. Nervestransmit energy and intelligence. Muscles act by means of stimulus from the nerves. ,,

Mental functions are described as feeling, knowing and willing. We first feel, see, hear, smell, or taste. Wenext become conscious of these feelings or perceptions and know. We then desire to do something, and the act ofdoing is called will. As concerns writing, the process is as follows: through the eye the mind perceives form; themind become conscious of said form and desires to produce it; the will says, "all right." and directs the muscles toperform that which the eye observed and the mind perceived.

We have also three actions of the mind known as volun'.ary, involuntary, and reflex actions. Voluntary acts areconscious and under the direct control of the intellect and will. Involuntary acts are those which preserve life suchas breathing, digestion,.circulation, £lc^, and are not only unconscious hut sometimes independent of the will. Reflexacts are those which become habitual, such as talking, walking, writing, etc. Al first they are conscious^ but through i^repetition and practice they become automatic. • ' i . . . i .-.-vi

Nerves are of two kinds; in-carrying or sensory nerves, and out-carrying or motor nerves. The former carmessages to the bfain from the senses, and the latter carry messages from the brain to the muscles. The hand is*^"therefore in direct communication with the mind by these nerves which act as telephone or telegraph lines. This con-nection is so close, real, and intelligent, that the hand is now very generally considered as projected brain. The handis also recognized as the ready servant of the mind, ever ready to do its bidding. So successful does this service orperformance become through conscious thought and consequent repetition, that the hand learns to do many wonderfuland skillful acts almost unconsciously. Walking, talking and writing are three of many of these semi- or unconsciousacts.

At first they are all thoughtful and difficult, but by repeated effort they become quite easy and thoughtless inperformance. We become skillful, graceful, good walkers in proportion to our careful, skillful practice in walking.We become good talkers if we give thought to substance and utterance. We become good penmen in proportion toour skillful practice of good penmanship in writing.

The hand unconsciously endeavors to perform the dictates of the mind. If the latter dictates good, clear, tangible,accurate, specific forms, the hand will produce them almost faithfully. The reason we have so much poor penmanshipin the world is that people think very indefinitely about the forms they are endeavoring to execute.

Think good forms and the nerves will convey the message to the muscles and they in turn will execute them onrr )er. This is psychology simplified but none the less scientific and trustworthy. It is not a theory, but a fact or

ditio... ,^-t "ou will therefore" make no mistake in storing up perfect percepts of form. To do this, you need tody form criticsi.'.y '' the proportion of the letter, its general shape, location, number, and character of its!S. loops, angles, ete."Know good form, think go.^.

VERTICAL WRITING.

It came, it conquered, and in turn was conquered by that which i.s better than it or its predecessors. It came asa protest against extreme slant and ans;ularity. Itself an extreme in rotundity and uprightness, it could not remainlong unchanged. As a consequence, the compromise between tio and much slant, between angularity and rotuidity,between extreme largeness and smallness, between heaviness and daintiness is here, and here to remain indefir.itely.

Vertical Writing emphasized legibility and simplicity more than they had ever before been emphasized, a id inso doing did a good work; a work which livet today, and will continue to live, in its successors. It did much good,a little harm, and jiassed as a potent factor in penmanship. Such, also, was the fate of Spencerian, the angular style,and the old round hand. Each paved the way to something better.

Let us give each its due, revere the memory of their various authors, and ptish on, facing the dawn of new condi-tions, adopting, adapting, and developing as did they, and thereby add our part, be it much or little, to the generalgood of good writing.

POSITION OF BODY.

Two things are essential in position while writing: health and efficiency. The first is necessary, not only to goodwriting and to prolonged writing, but to the enjoyment and performance of any art or act.to make writing thoroughly practical and easy in execution.

Keep both elbows near the edge of the table or desk, as by so doing the shoulders arestraight laterally. Lean slightly forward, bending at the hips. By all means keep the b? ,.>the body from breaking and forming a wrinkle between the abdomen and stomach.

The light should come from the left and not -irectly from in front.The feet should be kept somewhat apart and uncrossed.

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The second is n'-"'^ssary

^* even and the spinejm bowing outward and

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POSITION OF ARM, HAND. AND PEN.

The full weight of the arm should rest upon thecushion of muscle in the front of the elbow, thus form-ing the center of motion and control. The clothing ofthe fore-arm should be loose and light, in order to givefreedom and ease to movement.

The hand should rest and glide upon the little fingeralong the side and just back of the nail. This glidingrest should move freely toward the right in making theup strokes in the small letters. It should slip freely inlarge forms such as capitals and long loops.

POSITION EN. HAND AND FORE-AflM.

qLioiNq REST ARr-1 REST

The holder should point above and somewhere be-tween the elbow and shoulder. It should cross the handsomewhere near the knuckle joint of the first finger. Ifthe hand and fingers are long, as in some adults, itshould cross above, but if short, below as in the illustra-tion. The holder should be held at an angle of aboutforty-five degrees, as the pen writes most effectivelywhen held at that angle.The side of the palm of the hand should not touch or

rest upon the paper, but be kept free, allowing the littlefinger only to rest upon the paper or blotter.

The wrist need not be held flat, but it should notJ

be allowed to turn far enough to throw the holder out-ward from the elbow.

Hold the pen firmly, but do not pinch or grip it.Try to be sensible and natural about position ratherthan rigidly formal.

POSITION OR ANGLE OF PAPER.

The paper should be held close to the body whenwriting at the top of the sheet, and well from the bodywhen writingnear the bottom.

The papershould be heldn e i t her parallejwith the desk norat right angleswith the fore-arm,but about midwaybetween thesetwo extremes.The elbow

should be shiftedfrom two to fourtimes in writingacross the page.but never whenthe pen is on thepaper and in motion,or exercises.

Both elbows should be kept near to the edge of thedesk, and be bent at about right angles. The fore-armshould cross the desk at about forty-five degrees.A blotter should be held with the left hand so that the

right one can slide upon it. thusipibtecting the paperfrom perspiration or oily secretions from the skin.

Move the elbow between words

INTEREST AND ENTHUSIASM.

Interest may be said to concern the individual, and enthusiasm the class. If the teacher is enthusiastic the classwill become so, and each member will become interested in writing.

Education, if it be true education, is interesting and pleasurable. Is your writing lesson interesting^ and pleas-ble? If not. it is not educational. Then it is your duty to make it educational, by bringing to it the same knowledge,1. and enthusiasm that you bring to your other classes.The remedy is simple: prepare your writing lesson as carefully as any other. Cheer is as catching as glooiji;*d writing as stimulating as poor writing is discouraging. Improve your writing as well as your teaching and the3hing of writing will become a delight and benediction, because it will enthuse and bless all with a good hand.

it and see.

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7^90-a.

MODEL FORMS FOR STUDY AND IMITATION.

The forms selected and presented for study and practice in the Arm Movement Method of Rapid Writing are theresult of many years of study, observation, experiment, and practice. They combine in the highest degree the essen-tials of legibility and rapidity. Being simple, they are easy to acquire and easy to execute. Being graceful as wellas plain, they are rapid as well as pleasing.

The slant is natural, being neither stiff nor extreme, and the turns are rounding without being clumsy. Theforms are script' rather than print-like in character, and are intended to be written freely and not drawn slowly.

Opllona/ Letters. Ai?brei^/atLO/75 orSi(^/?J.

/ a/ er/o /o /o

OPTIONAL FORMS FOR ADVANCED PUPILS.

As people differ in tastes in other things, it is reasonable to expect differences in handwriting. The forms givenabove are slight modifications of those given for practice in the manual. These may be substituted for the ones'therem given by those who prefer, and can make them better. Style is of less Importance than excellence in «xecu-tion. Therefore strive for excellence rather than peculiarity. Stick to one, form until you master it, and then if youdo not like it. others will be easy to acquire.

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TECHNICAL AND DESCRIPTIVE ANALYSIS.

Letters have like and unlike qualities. Like qualities make them easy and rapid in execution, and unlike qualitiesmake them legible and easy to read.

Analysis emphasizes these likes and unlikes. and acquaints us with the construction of letters, and thereforewith their form and execution. No analysis means superficial and therefore inadequate knowledge of form, while toomuch analysis interferes with practice and robs the lesson of interest and enthusiasm.

Principles are forms common to a number of letters; the thirteen principles constitute the main portion of all ofthe small and capital letters. Study these principles critically, and learn them by number for convenience in study-ing, analyzing, and teaching the letters.

The greater number of principles, a system contains, the easier is the analysis of the letters, as there are fewermodifications.

The letter i contains one angle, one turn, one dot. and three strokes, and it is about again as wide as high, withoutconsidering the dot. It is also composed of principles 2 and 4.

The letter u contains two angles, two turns, and five strokes, being sharp at the top and rounding at the base.It is composed of principles 2, 4, and 4.

The letter n contains one angle, three turns, and five strokes. It is composed of principles 5 and G. It is also thesame as u in height and width.

The letter m contains two angles, four turns, and seven strokes, and is like the n except that it contains one moreprinciple. It is composed of principles 5, 5. and 6.

The letter x contains two turns, two angles, and four strokes. It is composed of principles 5 and 4. It is con-structed by retracing a portion of the first part with the second.

(/Wti/^ea /Iccorc///?^ to S//n//ar/t/es. /^na/i/s/s S/?ou/n i>i/ //umi>erj. Studi/ and ther/ Pract/ce.

^^./fU/^'^t^Jfy. /L/Lo^7235?'.

ac£^ PG/? v?c n 7n

/ 2 3 V 5 L 7// r

JA JSXT/?e T/?/rieef? Pr/nap/es frci/nC/uf/i/c/? the letters are Constructed.

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The letter r contains one turn, a retrace, and a finish in the form of a small loop. It is composed of principles5 and 1. It is constructed by retracing the downward stroke of principle 5 with that of 1 without raising the pen.

The letter v contains two turns and a finish the same as r. It is composed of principle G and a finish.

The letter w contains two angles, two turns, and a finish as in v. It is composed of principles 2, 4, and 4.

The letter e contains a loop, and is composed of principles 2 and 4 joined by a turn.

The letter c is composed of jirinciplo I with a dot and turn to the right of the top.

The letter o is an ellipse. It is composed of iirinciples o and 2. and a finish as in w. The principles are modifiedliy being sliortened. more curving, and less slanting.

The letter a contains an oval, one angle, one turn, and four strokes. It is conii)osed of princiiiles 3, 2, and 4.Principle :! is modified by being made downward. It is an I without the dot and with principle 3 added.

The letter r contains one acute and one obtuse angle, and one turn. It is composed of principles 2 and 4. Bothare modilicd slightly. It resembles i with a shoulder or hump in the back.

The letter s is composed of principles 2 and 2, the last being made downward and more curving.

The letter t contains an angle, a turn, and a retrace; also a letter I. It is composed of principles 2, 1. and 4. anda horizontal straight line.

The letter d contains one angle and one turn, and an I, a, and uncrossed t. It is composed of principles 3, 2, 1, and 4.

The letter p contains an inverted d with two angles. It is composed of principles 2, 1, 3, and 4. Principles 2 and1 are modified by being made much longer.

The letter I contains a loop and turn, and an i. It is composed of principles 7 and 2.

The letter b begins the same as I and finishes the same as w. It is composed of principles 7 and 2, and finish as v.

The letter h contains a loop, one angle, and two turns. It begins as I and ends as n. It is composed of principles7 and 0.

The letter k contains a loop, an open oval, and one angle, and one turn. It begins and ends the same as h, and iscomposed of principles 7, 3, 2, and 4. Principles 2 and 3 are modified.

The letter j begins the same as i, and contains an angle, loop and dot. It is composed of principles 2 and 8.

The letter y begins as n finishes, and ends as j. It is composed of principles 6 and 8, and contains two turns, oneangle, and a loop.

The letter z begins like n and ends like y, and contains one turn, one angle, and a loop. It is composed ofprinciples 5 and 8, the latter being modified at the beginning.

The letter g begins as a and ends as j. It contains an oval, angle, loop and turn. It is composed of principles3, 2. and >;.

The letter q contains a complete a and i, and a loop. It is composed of principles 3 and 2 , 1 and 2 modified, and 2.

The letter f contains an I and i, and begins like the former and ends like q. It is composed of principles 7, 1 and2 modified, and 2.

The letter O is an ellipse and is composed of principle 9 with a lateral curve.

The letter A is much like an enlarged small a, and is composed of principles 9. 1, and 3 modified in directionand len.gth.

The letter C is composed of principle 9 modified, and resembles the small c. but is more rounding.

^'^The letter E begins and ends as C, and is composed of principle 9 with a loop in the center.The letter D begins with principle 1 and ends as the O. It is composed of principles 1 and 3. and 9 modified with

a lateral curve attached.

16

The letter P resembles the small p, and is composed of principles 1 and 10 modified, the former in length, andthe latter in shape, size and direction.

The letter B resembles P and the inverted E, It is composed of principles 1. 10. and 10 modified, and containsone retrace, two open ovals, and one loop.

The letter R contains a P and a vertical compound curve. It is composed of principles 1, 10, and 12, and containsone each of the following: retrace, oval, loop, and compound curve.

The letter K is composed of principles 11, 13, and 12, the last two being modified. The letter ends the same as R.The letter H begins the same as K and ends the same as O. It is composed of principles 11. 3, 1. 3. and 2. all of

which are modified but the first.

The letter N begins as H and ends as A. It is composed of principles 11 and .5. the latter being modified.

The letter M begins and ends the same as N, and looks like a tall small m. It is composed of principles 11, and5 and 5 modified.

The letter V begins as N and ends as small v. It is composed of principle 12 and principle 2 modified.

The letter W begins and ends as V, and is f^omposed of principle 12 and principles 2 and 4 modified by beingmade longer. It also resembles the small w.

The letter U begins as V and ends as A. It is composed of principle 12, and principles 2, 1 and 3 modified.

The letter Y begins as U and ends the same as small y. It is composed of principle 12 and principles 2 and 8.

The letter J is composed of principles 3 and 8 modified. It finishes the same as small j.

The letter I begins like J and ends like s. It is composed of principles 3 and 13 modified.

The letter X begins as H and ends as A and U. It is composed of principles 10 and 3 modified.The letter Z begins as X and ends as the small z. It is composed of principle 10, and principle 8 modified.

Tho letter Q begins as Z and ends with principles 3 and 2. Note the difference in the little loops of Z and QThe letter L begins as C and ends as Q. It is composed of principles 13, 3, and 2.

The letter S begins as I and ends as s. It is composed of principles 7 and 2, or 7 and 13.

The letter G begins as S and ends with the straight line. It is compof ed of principles 7, 2, and 1 modified.

The letter T is composed of principle 1 made horizontally and principle 13.The letter F is the same as T with a cross similar to that of the small t.

Note particularly the similarity of letters as shown in the monograms. See differences, also. Each letter pos-sesses some characteristic which distinguishes it from the other twenty-five characters, therefore endeavor to alwaysretain it and thereby write legibly.

17

'^'^^^/L>^///i'9/U?r.??i£^t/Jj^^^^

PLAN OF

THE ARM MOVEMENT METHOD OF RAPID WRITING.Form and movement are presented together, and should go hand in hand until a good handwriting follows.Capital and small letters are alternated throughout the series, the one to the benefit of the other, and as they

occur in actual writing.

The Forms or styles of letters are simple and yet not slow or labored. They are the embodiment of plainness,ease and rapidity: such as the business world needs and demands.

The copies were written freely and represent practical rather than studied skill. They show what can actuallybe done with a free arm movement.

Each and every copy is accompanied by clear, concise, practical, helpful, needful instruction, the result of yearsof experience, experiment, and practice.

Every third copy in Parts Five, Six and Seven is separated in the center, and is intsnded to be written croiiS'wiseover the practice upon the two preceding copies. ^

PARTS FIVE, SIX, SEVEN, AND EIGHT.

Part Five comprises thirteen smaJl and twelve capital letters, the figures, movement exercises and principles.Tbis is intended for pupils ten years of age and upward, and for all who have not mastered form and movement.

Part Six comprises thirteen extended smiall letters, fourteen capitals, the figures, exercises, principles and sen-tences. It is intended to follow Part Five, and to complete the elementary foundation of form and movement.

Part Seven comprises all of the letters and figures, exercises, and sentences. It shotild follow Part Six, and carrythe work on to a more advanced stage.

Part Eight comprises letters, exercises, sentences, names and addresses, paragraphs. Business Forms, letter, etc.It should follow Part Seven and carry the work tO' a practical, business-like end; an easy, rapid, legible handwriting.

FINAL WORDS WORTH HEEDING.

Each Copy should be practiced until improvement is observed, and, better still, until the work is satisfactory inboth form and movement.

The Mastery of each copy makes each succeeding one easier, and the whole art an easy and assured possession.The failure to master first principles means failure all along the line until you return and master them.

Good Writing is no slight task, nor is it an indifferent accomplishment. Its worth makes it highly desirable, andits acriuirement depends upon the faithfulness with which you pursue enthusiastically and practice intelligently thework so carefully planned herein.

After all, it is interest in and love for good writing that makes it easy of acquirement, and its possession a sourceof satisfaction and continual profit.

18

Count right, left, right, left, right, left, at the rate of about 100 strokes a minute. Let fore -an-A act like hinge at elbow.

INSTRUCTIONS FOR PRACTICE.These exercises will give freedom from left to right in writing across the page. They should be made with the

fore-arm acting like a hinge at the elbow. The wrist should not ace. but all of the motion should come from andcenter at the elbow. These exercises should be practiced crosswise over what has been written to save paper and tocultivate the habit of writing straight across the page without a ruled line. Force the pen halfway across the pagewith a quick, sure, yet light action. The pen should make a crisp but not .scratching sound.

^^^^^^^^^^^^m

MODEL PRACTICEThis shows how to practice crosswise over the previous work and to do so without defacing the copy if you are

fortunate enough to have one on the paper you are practicing upon. Watch spacing between lines as well as direc-tion of line. Work freely at all times, never drawing or dragging the pen slowly. Skill comes only through training;through activity. It is necessary to do a thing many times before proficiency results. It was so in talking and walk-ing, and it is true in writing. Repetition is the key to success.

20

See that little finger glides easily and freely with the pen. Time. 1 . 2. 3. 4. 5, 6. finish. 1 . 2. 3. 4. 5. 6. finish. 1.2.3. 4. 5. 6, finish.

INSTRUCTIONS FOR PRACTICE.

See that the movement is regular, elastic, and free. Avoid spasmodic starts and stops, but let the motion roll onfrom form to form. Motion should precede placing the pen on the paper and continue after it has been raised. Con-centrate the mind upon the finish, or you may have difficulty to change from the large oval to the small. Aim atperfect ease in execution, as that secures the best results in form. Grace and accuracy are the result of ease and

freedom.

Arm movement. Rolling motion. About 70 to the minute. Finish with curve pointing upward. No finger movement.

FORM STUDY.The O is composed of principle 9 and a lateral curve. It comprises an ellipse, and a

loop which should end upward. The second form resembles A, and the last looks like I.


Use an easy rolling arm movement. Curve both sides equally. After making a line of O's, stop and lookthem

over carefully See wherein they are good, and wherein they are poor. Then endeavor to improvethem. Renieinber

that quality is essential as well as quantity. One can practice too much as well as too little. Careful, mtelligent,

critical practice brings the best results, and in the least time.

Sunng back and forth freely in making first form. Make second exercise with a rapid up-and-down action. Glide freely on up strokes.


Use gliding movement on the long up strokes. Little finger should slip freely toward the right in making them.

The straight line or principle one is made downward with little finger slipping but little. Make it firmly rather than

rapidly, and without much if any finger movement. Time, glide 1, glide 1, glide 1, glide. About sixty down strokes

to the minute.

22 ^

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glide one glide trie glide. See that arm swings freely from the elbow. Keep down stroke straight.

INSTRUCTIONS FOR PRACTICE.An easy, graceful gliding of the pen and hand is necessary, not only for these exercises, but for successful writ-

ing as well. These exercises are of a two-fold value as they break up and overcome excessive finger action andcultivate at the same time the correct action of the arm. Do not hesitate therefore to fill many pages of such forms,and to review them frequently. Instead of buying paper by the nickel's worth, get a quarter ream (250 sheets) at atime. It takes paper as well as effort to learn to write correctly, but it is a paying investment.

Angle at top, turn at bottom. Little finger glides freely in making all upward strokes. Place dot carefully.

FORM STUDY.The I is composed of principles 2 and 4 with a dot above. It contains one angle, one turn, and

three strokes, and is made without raising the pen except to make the dot. The lower line showsthree common tendencies or errors, which should be avoided. The first resembles c because thedown stroke is curved; the second resembles e because it is looped instead of being sharp: andthe third resembles r because it is sharp at the base and finishes with a left instead of a rightcurve.


Use the same gliding motion described in the previous copy. See that the movement centers at and precedesfrom the elbow in making such letters as I, u, m, w, etc. Time, 1, 2, 3, dot.; 1, 2, 3, dot.; 1. 2, 3, dot for the i: 1 and 3for the up strokes, and 2 for the down stroke. About 50 to the minute. Not that many each minute, but at that rateof speed when the pen is on the paper.

Use a rapid, circular arm movement in making oval exercise. Employ a quick, direct, straight arm action to make second exercise.


Make each exercise without raising the pen. Learn to be quick and light in action, and continuous. Strength and'scope come by "holding on" until the exercise is completed. It encourages three things: up-and-down action, free-dom from left to right, and continuity of effort. All are necessary for good, legible, rapid writing.

23

Keep a good position. Take good care ofpen. Watch slant. Make ova! and then straight line. Keep fingers from acting.

'o^a^INSTRUCTIONS FOR PRACTICE.

Always read and re-read headline of copy. Then study the copy; its shape, size, and method of making. Nextrend instructions. You are then ready to practice intelligently, and make improvement in accordance with yourmental and physical effort. Make oval and straight line tracers at the rate of about 200 down strokes to the minute.

MODEL PRACTICE.

This practice shows how every third copy can be written across that which has been written over once. Bewatchful about spacing between the down strokes as well as between lines. See how orderly you can keep your prac-tice sheets. Systematic practice encourages improvement more than any other one thing. The business man ad-mires order and neatness, therefore develop them. See the following page.

M

Start each letter with a strong swing toward the left. Retrace neatly and finish with curve pointing downward to the r.'^h .

FORM STUDY.The A is a flattened oval, antl ni\ich the same as the small a grown tall. The second

form resembles O, and the last looks like G. Avoid these two tendencies or errors.

INSTRUCTIONS FOR PRACTICE.Make the A without raising the pen. Time, 1, 2, 3; 1, 2. 3; 1, 2. Z; a letter each

second. That means a lively action, but that is the kind in demand. Notice carefully that the A starts toward theleft and slightly upward, and that it ends downward and toward the right, both being gentle curves. Watch slant ofoval and last stroke, and curve first stroke more than second.

Keep down stroke straight. Move quickly and gracefully. Do not use the fingers. Curve the up strokes. Persevere.

INSTRUCTIONS f-OR PRACTICE.Push toward the right in making the long up strokes. Put force as well as freedom in your work. Aim to

make the exercise sharp at the top and rounding at the bottom; just like the small i. Swing gracefully from one lineto the other with the second exercise.

Keep down strokes parallel. Use free, rolling movement in making circle. Write easily and gracefully.

L^

d^ /^/m/?/leic,m^i/9//r/^^^^^^^ ^^^'Study quality of line in the up strokes. See how smooth and sharp. A free movement is necessary to secure them.


Cultivate a light, lively action and the quality of line in your writing will improve greatly. Nervous, broken linesarc the result of slowness ami cramptness rather than of real nervousness as is generally supposed. Swing easily,gracefully, and lightly from one blue line to the one beneath in making the double-line lu exercises. Ease in writingcomes by learning to make exercises freely and gracefully. Avoid finger action as none is necessary in such workas this.

Use a rolling, fairly rapid arm movement. End upward and A downward. Make the former more rounding than the latter.


Go from one letter to the other without checking the movement, simply change it slightly in the finishing of theletters. Study the difference between the letters in the copy and then the difference between yours. Use no fingeraction. Nothing Init pure arm movement is necessary. See how graceful as well as how accurate you can makethem.

Arrows show which dirrection to make the principles. All are same in hight. Up strokes slant more than down strokes. Count 1,2,3, 1,2,3.

// // / ///// / / / ///////////////INSTRUCTIONS FOR PRACTICE.

Make the up strokes more freely than the down stroke; also make them more slanting. See that the littlefinger slips freely toward the right in making the up strokes. Do not shade the down stroke or finish the up strokeswith a dot. Raise the pen while in motion, in making the up strokes. These little forms are the elements of writingand we have named them principles. The first is principle 3 (left curve); the second, principle 1 (straight line);and the third, principle 2(risiht curve). Remember their names.

26

Use an easy, graceful, gliding motion at all times. Make turns rounding and angles sharp. Pure arm movement. No finger action necessary

^"Z ^^^7 ,-^ /^ ^^ ,--7 /^ iL^ ^^^ ^^ L^ Z--" L^ ^^/^

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See how gradually you can approach the center and how freely. Use a free rolling arm movement in the E tracer. Study form.

INSTRUCTIONS FOR PRACTICE.This diminishing tracer is a fine exercise to assist one to gain control over the movement. It overcomes spas-

modic action and cultivates patience. Make the E tracer with an easy, rolling arm movement, keeping the loop small.

Place the pen firmly upon the paper and two, circular impulses will make the E. and about 50 to the minute.

FORM STUDY.The E begins and ends like C. The loop should be made near the center. The second

letter looks like C with a little extra twirl in the beginning. The loop in the last form istoo large.


Keep the small loop near the center and pointing downward. Keep the motion rolling from one letter to theother, and hit the paper quickly with the pen as you start the E.. Learn to be quick and sure and your writing willbe in demand. Rapid writing is a valuable acquisition.

Write the word without raising the pen. Begin with a rolling and end with a gliding motion. Write 1 5 words a minute.

INSTRUCTIONS FOR PRACTICE.Start the E freely but not recklessly or you will have difficulty to connect successfully to the n, as it requires

changing from a rolling to a gliding motion. Keep all turn.^ the same in the small letters, ami maintain wide spacingbetween the letters. Watchfulness of details is the secret of superior penmanship. And if you are careful of detailsin writing you will be careful with the details of other arts and acts.

Make the compound cuiue with a graceful motion. Vie tracer should be made quickly without little finger s.'ivvin^ reri' much.

rMmmmmmmmINSTRUCTIONS FOR PRACTICE.

Do not raise the pen until each exercise is completed. Retrace the compact exercises with care so as to secureuniform spacing and color. Much time can be spent very profitably upon these exercises. They are more valuablethan they appear. Therefore invest in them. They will pay handsome dividends later on, and all through life.

31

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The r contains a turn, a retrace, and a finishing loop. Make the circle wuii a quick, Jree movement, tie careful. Be persevering.

FORM STUDY..The r is composed of principles 5 and 1 and a finish in the form of a small loop and a lateral

curve. The first imperfect letter looks lilve v, and the second like x. Avoid these errors.

INSTRUCTIONS FOR PRACTICE.Begin the r like n, retrace the downward stroke carefully with the upward, and finish with a

small loop or dot, pausing slightly before starting toward the right. A little finger action isallowable, but not much is necessary or desirable. Be careful to retrace all of the way up. Circle the r with freedomand caret doing so gracefully.

Make the long connecting lines with a strong, free arm movement. Finish the r with care. Swing gracefully from one line to the other.

INSTi-.'JCTIONS FOR PRACTICE.

It is said that "trifles make perfection" and that "perfection is no trifle." Trifles make writing good or bad, andsurely good writing is no trifle. Watch the little things and ere long your writing will be a glorious success. Whata good recommendation it is to have people say "how well you write!"

Make about 200 down strokes to the minute and about CO O's. See how freely and easily as well as how plainly you can write.

INSTRUCTIONS FOR PRACTICE.Enthusiasm makes things easy. If you are interested you will enjoy the writing hour. Writing is not so much

talent as it is acquisition. All must learn it. Some learn more easily than others because they are more interestedand ambitious. Start to work enthusiastically upon the tracers and O's and see how easily you can conquer that rightarm of yours. Success to you.

Begin with a straight line and fnish like 0. Watch spacing between letters. Time, 1 . 2. 3; 1 . 2. 3; 1 , 2, 3. About 50 to the minute.

32

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FORM STUDY.The D begins with principle 1 and ends lilie O. The second form resembles I with a

little flourish, and the last looks like L with a large flourish. Keep the first loop small.

INSTRUCTIONS FOR PRACTICE.Begin the letter somewhat deliberately but increase the motion gradually and swing

upward and finish toward the right with considerable momentum. F'irst stroke may be short or long as you prefer.Compare the D with the O and make it in much the same manner after the little loop has been formed. Do all workcarefully ,even though you do it freely. Care does not necessarily mean slow.

Wrile the word Dim without raising the pen. Dot i and finish m carefully. Use an easy arm movement.

INSTRUCTIONS FOR PRACTICE.Begin the word with principle 1 and end it with 2. Write at the rate of about 18 or 20 words a minute. Study

your practice and compare it with the copy.

Begin compact end of exercise more rapidly than you end it. Make the double-turn exercise with an easy, graceful steady motion.


This exercise cannot be executed as rapidly as the one that is sharp at the top or bottom, but it can and shouldbe executed with more real grace than either. Let ease of execution be your motto and your method, and gracefulwriting will follow as surely as day follows night.

Pause in finishing the v. but do not raise the pen. Write the vr exercise between the blue lines, after the v's have been written.

FORM STUDY.The V is composed of principle G and a finish the same as r. It contains two turns, a finish.

and three strokes. The first common error resembles r, the second o. and the third re. Lettershave physiognomies the same as people. Do not rob them of an ear, an eye, or a nose.

INSTRUCTIONS FOR PRACTICE.The V is a very graceful letter when made correctly, and an easy letter if one uses an easy,

graceful, arm movement, and if one will pause gently in the finishing. Be sure to have a turn at the top as well asat the bottom. Avoid a jerky motion and the result will be pleasing. The little retrace oval thrown around the vencourages freedom by keeping the movement loose to the end.

33

Put 'vim" in your practice, watchfulness in your eye. and perseverance in your effort and a good handwriting will folloui.

INSTRUCTIONS FOR PRACTICE.Begin the word with an upward curve and turn and end it with a lower turn and curve. Finish v carefully and

place dot over i, not to the right of it as is a common tendency. See how gracefully you can swing from one word toanother beneath it. Watch position as well as spacing.

Secure uniformity in height, spacing and slant without sacrificing eitherfreedom or arm movement. Persevere andyou will win a good handwriting.

Practice, practice, practice; study, study, study; care, care, care, are the price one must pay for a good handwrit-ing. Money cannot buy it, neither can money take it away. It is an accomplishment all admire and a necessity manybusiness men demand, as evidenced in the request found in "want" advertisements and elsewhere—"apply in ownhandwriting. ' That tells the tale, and your hand may either win or lose you a good position, depending upon itsexcellence or poorness. Better resolve now to write well and you will.

Make the P without raising the pen. Retrace quickly and make the oval with a free, forceful, swing. Pause may be made at bottom.

FORM STUDY.The P is composed of principle 1, retrace, and principle 9. The principles are modified

in size and direction. The second form is too narrow, and the last too rounding and thefinish is too low.


Review the copy before this and then see how well you can make the P. Note the fact that the second part ofoval slants more than the first or retrace part. Begin with an in-and-out motion and end with a circular one. Makeabout 50 to the minute. Time, 1, 2; 1, 2; 1, 2. Count 1 for the first part and 2 for the oval.

itudy spacing. See how P ends and u begins. Down strokes in smal' letters should be the same slant as the capital. Write freely at all times.


See that first stroke of u is parallel with last stroke of P. Keep u sharp at the top and n rounding. Never havethem appear the same and your writing will at least be legible. There is too much illegible, scrawling, scribblingwriting in the world. Resolve that there shall be one less poor penman in the world by improving your penmanship.-If you are a teacher, resolve that there shall be many less by teaching writing rationally and enthusiastically.

Use a free, lateral, gliding action in the first exercise, and a gliding and circular motion in the second.

INSTRUCTIONS FOR PRACTICE.Practice these exercises crosswise over previous practice. Malie a downward stroke, in the first exercise, on each

blue line crossed; and in the second, a letter on each crossline. This will teach yon to "hit the mark" and get whatyou go after—a good handwriting.

The IV is a u uAth a finish like V. Do not grip the holder. Sit erect. Use arm movement. Study form. Think form.

FORM STUDY,The w is composed of principles 2, 4, and 4, and a finish as v. It contains two angles.

two turns, five strokes, and a finish. See that your letter contains the same. The firstcommon fault looks like io; the second, like an angular m; and the third, like ue. Writeplainly by avoiding these errors.

INSTRUCTIONS FOR PRACTICE,*

Pause gently in finishing the w, and see that the first part resembles u. The w-u exercise aids in developing thefirst part, and the w-v exercise aids in developing the finish. Push the pen rather than drag it. Remember that agood handwriting is not acquired in a day. nor without special effort. But it is possible to all who are worthy of itand who are willing to pay its price in toil.

Ifyou would "win" a good hand writing, you must work for it. TTie copy will help you.

INSTRUCTIONS FOR PRACTICE.An easy, gliding, free movement from letter to letter is necessary for .good writing and easy writing. The little finger

need not slip much in the letter, but it should slip freely in going from one letter to another. An easy, gliding actionof the little finger toward the right while writing is, in itself, a guaranty of good writing nine cases out of ten. There-fore get it, and get it quick. Circle the n in the word win freely and easily.

35

Do your besi each time. Master movement by mastering the exercises. Then you can master writing. Use a rolling motion in the B tracer.


See how regular in height, slant, and spacing you can make the straight line exercise without the aid of theIngcrs, and at the rate of about 200 down strokes to the minute. Practice freely and free writing will result.

Make the B without raising the pen. Retrace carefully but quickly, and finish with a rolling motion, stopping with the pen on the paper.

FORM STUDY. >

The B is composed of the P with an ova! added. The little loop should point upward,and be near the center of the letter. The top of the second letter is too small, and theloop in the last is too large.

INSTRUCTIONS FOR PRACTICE.Use a quick, light, elastic in-and-out or push-and-pull movement in the first or retrace part of the letter, and two

reverse oval motions in the second part of the B. Keep your movement under the control of the will by thinkingIntently of the letter as you are about to make it. Be quick mentally as well as physically. Think good writing andyou will soon produce good writing.

Write halfway across page without raising pen. Vten raise the pen each word either at ending or base offirst part of B.

INSTRUCTIONo F' R PRACTICE.

Strive to write with considerable force. By so doing you will develop treedom and ease. Slant u and n the sameas the first part of B. Keep top of u sharp and n rounding. Do not forget about position. It is necessary for healthas well as penmanship.

Use a free, small, rolling motion. Siring gracefully from one line to the other, using no finger or wrist action.

36

INSTRUCTIONS FOR PRACTICE.Let the motion be a lively one from start to finish. Keep the loops full by using a circular action. The little

finger needs to jog toward the right freely and easily. It is best to let the little finger rest on the flesh rather thanon the nail, and to use a blotter to let it slip upon. The blotter protects the paper from perspiration and oil and keepsthe finger dry. Hold the blotter with the left hand, and keep it about an inch below the line you are writing upon.

Always loop the e and dot the i. Form and freedom should go hand in hand. Keep a good position. Watch spacing. Be systematic.

FORM STUDY.The e is composed of principles 2 and 4 by being joined at the top by a curve instead of an

angle as in I. It contains one loop, one turn, and three strokes. The first tendency is to diminishor omit the loop and it then resembles i, and the other tendency is to make it like a small capital Eand it then looks like r.

INSTRUCTIONS FOR PRACTICE.The loop is the characteristic of the e, therefore be sure to make it full enough to be easily recognized from i.

Use an easy, rolling motion, curving the up stroke more than the down stroke. The e with a circle around it makesa pleasing form for practice. See how unlike you can make I and e without curving the back of the e or making thelower turn of e more rounding than the i.

Pause in finishing v to avoid looping it, and to be sure to loop the last e. Watch the turns.

INSTRUCTIONS FOR PRACTICE.Finish the word as carefully as you begin it; even more carefully. Make up your mind to end right whether you

begin right or not. Make the ellipse about the word with a quick, easy swing of the hand and arm. No wrist move-ment. See that the entire motion centers at and procedes from the elbow. Be careful to not loop the finish of v ordrop to the base line with it.

The diminishing oval exercise aids one to control movement, and thereby to tvrite a large or small hand. Watch your position.

37

INSTRUCTIONS FOR PRACTICE.See that the arm rolls freely upon the muscle in front of the elbow in making these oval forms. Let the

motion be neither hurried nor sluggish, sure but not stiff, and light but not weak. Ease of execution is the key togood writing.

Retrace R carefully but quickly, andfinish with a vertical compound curve. Make the three Rs without raising the pen. Loop should be small.

FORM STUDY.The R is composed of the P with a vertical compound curve added. The loop should

point upward and be near the center of the letter. The second R resembles K, and thelast one is top heavy.


Make large oval of R cearly horizontal and see that little loop points upward. The letter finishes downward andtoward the right the same as A, and with as delicate a curve. See how easily they may be joined. Be sure to dropto base line with finish or it may resemble P when they are Joined.

Use an easy, gliding-toward-the-rigk fore-arm movement. Spacing is wide between the letters, not in them.


Runner is a nice word to practice. Make the letters small and the spacing between them wide. Keep the downstrokes straight and the same in slant. The r used at the end of the word shoujd never be used except as a final letter.

Finish the capital with a vertical compound curve ending toward the right.

Maintain a good position. Keep good pens. Watch angle ofpaper. Review previous exercises. Use arm movement.


These exercises are good to develop speed and control: two very desirable essentials of a practical handwriting.

See how gradually vou can merge from the compact to the open exercise, and how rapidly. Alternate the oval andstraight line exercises. After working faithfully and strenuously upon the exercises to the left, begin practicing

somewhat more leisurely upon the oiie to the right, swinging with a lively grace from exercise to exercise.

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ZyA£C'&?^f///lrf •cuij:n/v//r///rr/^y/^r//^rr //'/y//y//y~J^^

The c has one dot and one turn. Make the dot firmly and finish the letterfi-eely . Do not raise the pen in joining the c.

"l^ C^ c^c^ iC^ ,c^ c^ c^^ i:>^ c^ ^c^ ^

FORM STUDY.The c is composed of principle 4 and a dot and turn to the right at the top. The first Imperfect

form resembles I because the turn and dot are too small, and the second looks like a capital.Illegible writing is due to these common tendencies which, therefore, should be guarded against.

INSTRUCTIONS FOR PRACTICE.Place the pen firmly upon the paper and make upper turn more rounding than lower turn. Keep

the dot strong and well to the right of the down stroke. Make the exercises without raising the pen, and use a freearm movement except in the dot where a slight finger Action may be employed.

Keep each letter distinct in form and spacing. Count, i, c, e, circle: i. c. e, circle, making about twenty a minute.

INSTRUCTIONS FOR PRACTICE.The turns on the base line should all be the same in both words. Begin c with a decided dot and end e with an

unmistakable loop. The letters in the word ice each contain two strokes, and two of them contain dots. Swing aroundeasily with the ellipse, neither sluggishly nor with a jerlv. Remember that it is not practice alone that is necessaryto learn to write well, but study and practice combined. Intelligent "practice makes perfect." and not mere practice.

Pause at base line in the pointed oval. Make down stroke nearly straight. Begin Principle 1 1 ivith a dot and end with pen resting on base line.

INSTRUCTIONS FOR PRACTICE.Are you sure you are on the right track? Have you examined carefully the form each time you began work upon

a new one, or upon one not mastered? Have you observed with care the movement you are using to discoverwhether you are really using arm movement or not? Investigation may lead you to discover some needful, helpfulthings. Try it anvhow; It can do no harm and may do much good. Master the exercise and principle given beforegoing any furthei, as the form is found in a number of letters which follow, and success depends upon its mastery.

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Time 1 , 2, 3, 4; 1,2,3, 4; 1,2,3, 4; about thirty to the minute. Join the letter u/ith a free and easy swinging movement.

FORM STUDY.The H is composed of principles 11, 3 and 1. and a finish like O, but with a smaller

loop. Down strolie of principle 11 is straight and not curved as in the second form. Thelast form is narrow and reveals a cramped movement.

INSTRUCTIONS FOR PRACTICE.Finish both parts of H on the base line. In connecting the letters, curve the long upward stroke considerably.

Keep down strokes parallel and quite straight. The second part should curve gracefully to the right at the top.Therefore to make it, start it with a leftward swing of the hand and arm.

Make all downward strokes on the same slant. Give equal spacing between letters. Finish the word carefully with principle 3.

Let hand rest and roll or rock on little finger in making these little ovals. Connect the wide-space forms gracefully.

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FORM STUDY.The o is composed of principles o and 2, and a finish as in w. It contains an ellipse which

should always l)e closed. The rirst imperfect letter is too narrow, the second resembles v, and thethird looks like a. Therefore avoid these errors and thereby avoid illegibility.

INSTRUCTIONS FOR PRACTICE.Let the hand circle quickly on the little finger rest, in making the o.

rather than downward, and close it completely at the top. Avoid dropping with the finish,and curve the first stroke as much as the second.

Start the letter leftwardKeep the letter rounding

[fse an easy arm movement. Go direct from o to o andfrom o to n. Finish each word watchfully.

INSTRUCTIONS FOR PRACTICE.Now and then you may feel discouraged. If you ilo, remember that discouragement reveals desire which is the

motive of success. Discouragement is but a failure, for, perhaps, but the moment, to realize one's desires or hopes,but perseverence at such times always aids in realizing the desired ends.

Swing gracefully, freely, and forcefully rightward and leftward in the large exercise, curve both strokes equally in all forms.

INSTRUCTIONS FOR PRACTICE,These exercises are well worth considerable time and patient, light, easy, graceful, elastic practice. They will do

more to loosen the movement and to give it buoyancy than any other one thing. Not only will they encourage easeand elegance in action, but control as well. They will be the source of ease in writing and elegance, if you butmaster them.

Begin both parts ofK the same as H, and finish the letter like R. Study location and direction of small loops.

FORM STUDY.The K ends like R and begins with principle 11. The upper half of the second part

is principle 13 slightly modified. Principle 11 in the second form is too curving, and thebeginning of the second part does not point to the right. The last form is too narrowand hook-like at the top.

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INSTRUCTIONS FOR PRACTICE.Begin the a toward the left rather than either upward or downward. Curve the down strolce more than the up-

ward, and slant the oval more than the o. Close the a carefully at the top. and drop to the base line with a straightstrol^e in finishing the letter. Be careful to finish the letter carefully before throwing the circle about it. Studythis letter critically, as the first part is different than any we have had.

Write the wura freely with but tiitle finger action and ivithout raising the pen. Learn to u/rite straight between lines.

INSTRUCTIONS FOR PRACTICE.Remember, the last downward stroke in a should be a straight line. The two turns on the base line should be

the same—"alike as two peas." About twelve of these words can be written in a minute. That is to say, the penshould move at about that rate of speed when on the paper. Of 0oiirse it would be the height of folly to writetwelve words each minute, as that would leave no time for thoughtful criticism, careful observation, and determina-tion as to what to do to improve. % ^ ''

^:^.

7^See that ann ttmrks freely at elbow. Make 150 down strokes a minute. Pause bet)veen lines to examine and criticise your work.

7^

INSTRUCTIONS FOR PRACTICE.See how rounding on top and sharp at the base you can make these exercises. Diminish the second form grad-

ually, maintaining uniform spacing throughout. The smaller the form, the more strokes can be made in a giventime, though the pen will travel less rapidly. Try to equal or excel the copy.

Sit erect. Use arm movement. Retrace first part of letter half the height. Make 40 to the minute. Time. 1. 2: 1. 2: 1. 2.

FORM STUDY.The N is composed of principles 11 and .5, the latter being modified. The second letter lacks

individuality, and the last has a mistaken identity as it resembles h. What ooes yours look like?


Use a quick, firm, free movement, mainly in-andout, and reverse the motion quickly at thebottom without pausing, retracing at least half-way to the top. Join the letter into groups of three, making eachwithout raising the pen, or without checking the motion to any great extent at any one place. Make at the rate ofabout one a second when joining in this manner.

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Use a free, gliding, fore-arm or hinge-like movement in this sentence, beginning and ending each word gracefully.

INSTRUCTIONS FOR PRACTICE.The running lianii has long since been a favorite style among penmen for corresponilence purposes because of

its ease in execution, reducing, as it does, effort to the minimum by its short downward strokes. By its long, slender,and graceful upward curves, it easily becomes "a thing of beauty" and, to the one possessing it, "a joy forever."Possess it and you, too, will be happy.

Watch closely turn and angle, straight and curved lines in these exercises. Do not use the fingers. Maintain uniform slant.

L^ L^ l^ <

Study vertical stroke in r. Pause at the shoulder of the letter. Finish like i. Make circle with rapid arm movement.

FORM STUDY.The r is composed of principles 2 and 4 with a short, nearly vertical, connecting line. It

contains one acute and one obtuse angle, one turn, and four strokes. The first defective letterresembles t or i, and the second looks like one style of e.

INSTRUCTIONS FOR PRACTICE.Be sure you have a clear percept of the letter r before attempting to make it. Then use

precisely the same movement as in such letters as I except that you pause at the shoulder of the letter. Withoutthis pause, you are apt to sharpen the shoulder too much, or to fail to make it at all or to make it well. Thereforestudy it critically and then make it carefully. Thus practiced, it may be quite easy and beautiful. It is usually madea litUe higher than the other short, small letters. In circling the r, the pause at the shoulder or obtuse angle willneed to be still more pronounced than in the letter as usually made.

See how easily the little finger can jog to the right in the word ' 'runner.

'

' Finish the word as carefully as you begin it.

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This is another nice word to practice. See how easily the pen can be taught to "run" right along toward theright, pausing only to form the shoulder of the r nicely. Watch position. Study and heed headline of each copy.

Make these tall m's at the rate of one a second. Pure arm movement. No finger action. Diminish the exercise gradually.

INSTRUCTIONS FOR PRACTICE.Drive the arm rapidly, elastically. and forcefully in-and-out the sleeve to make the tall, small m e.xercise, making

seven without checking the motion or raising the pen. See how rounding you can make the turns and how sharpand retracing the angles. Diminish the second exercise very gradually, toning and training thereby the movementso that capitals and small letters may be made at will equally well.

Time 1 . 2. 3: 1 . 2. 3; 1 . 2. 3. One count for each down stroke. About 35 a minute. Join the M's gracefully. Drive arm in and out sleeve.

FORM STUDY.The M is composed of principles 11, 5, and 5. Principle 5 is modified by being made

taller. Avoid looping as in the second form, and the last looks as though it were scaredor had its back broken. Which?


Reverse the motion quickly at the base and retrace as far toward the top as you can. . Avoid loops or turns at the

base and angles at the top. Begin and end as in K and N. Use pure arm movement and do not raise the pen in theletter. Join three M's without raising the pen or checking the motion.

Move on and move freely is a good motto in learning to write well. Finish v carefully, close the o, and loop the e.


Make the connecting strokes with a free swing of the forearm, the elbow serving as the center of pivot. Nofinger action to speak of 's necessary or advisable, and no wrist movement is required under ordinary circumstances.Shift the elbow between \%ords when the movement of the fore-arm becomes cramped at the elbow.

45

Make ovals lively with pure arm movement. Use rocking action in the s-like exercise. Get power from and above elbow.


The various exercises given above are somewhat unlike those given heretofore. They require more of thelateral, circular motion, and more of the rocking or under-action as in the exercises to the right. Let the hand andpen swing and rock freely to and fro in the last form given. And in the s-like character, start with the rockingaction and end with the lateral, oval movement.

^

Linle fnger may rest in making figures. Make them quickly. Be sure to make them unmistakable. About 75 a minute.

//////////// z/z/A^//- //W V ^LL(s>L>L>Llj?£^^i^c^^^//////////// L^L/LL/L/.L^l^l^/-^ C,{oLloir>lo^^ ^^^^'^^


Make 1 with a firm though quick action of the hand and forearm. The little finger may rest in making figures,though it should slip from figure to figure. Make second part of 4 a trifle higher than first part. Begin 6 with principle1 and end it with a quick, small oval. The 9 begins like a and ends below line like an abbreviated g. Neatness andplainness are two very important essentials in figure making.

Neatness, plainness, and quickness are essential. The 7 extends below line. The 2 and 3 begin alike, and 5 ends like 3. Study as well as practice.

777777777777 7 777 77777777777

2 12-ZX2-2.2-2 IX ZZ XI

z

2. Z ZZZ Z Z 233 3 33 3 333 3 3 3 3 3 3 33 3 3 3333

3

INSTRUCTIONS FOR PRACTICE,The 7 begins with a small dot and is composed of one horizontal and one slanting straight line. 2 begins the

same as 7 and ends the same as an inverted 7. 3 begins the same as 2 and is composed of two small ovals. 5 beginswith a short, slanting straight line and ends like 3. -The horizontal straight line is made last. Make all the figuresquickly, firmly, and plain. The 7 extends below the line the same as 9.

Grouped according to similarity. Watch spacing in as well as between letters. Retrace r and finish w carefully.

Use a quick, twist-like motion in this double loop exercise. The 8 is an inverted S. Make up stroke nearly straight.

INSTRUCTIONS FOR PRACTICE.Curve the down stroke of 8 considerably. Count, 1, 2; 1, 2;

extend above the other figures, and the 7 and 9 extend below,injunctions in figure making.

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1, 2. JIake about 60 to the minute. The 4, 6, and 8Be neat, be plain, be quick, are the three cardinal

First practice the figures according to similarity: then in their natural order. Make one figure directly beneath another in vertical columns.

/ ^^ f y 2-3^^/^^^y2-3S'y/2-3 ^.s ^y yy / 2.3 ^^iy ^y/ ^ L ^ y z 3sy/^^'fyz3~s^ / z 3 ^ s (^ 7 8^y / z s ^/^ Cyh^^/^C>yji^^?^/iy^L^y23s^/Z3^^(:>y Sr^y / z 3^5 C yyy


Make each figure distinct and unmistakable. Figures are unrelated as are letters, and they must therefore standalone. Each is complete in itself. They are therefore more important than individual letters, and unless they areunmistakable, serious trouble may arise, as they are the representatives sometimes of large values. One figure some-times means fortunes. How essential then that all should make figures unmistakably plain.

Note similarity of letters. Use a free, arm movement in all. Watch size, slant, ana spacing. Learn to be sure.


This is a review of all capital letters thus far given. You will doubtless discover that it is more difficult to makethem one after the other, than to repeat the same letter as in the usual practice. The reason that they are more diffi-cult is that the motion or movement must change to suit the form and construction of the different letters. Practiceand perseverence will win, however, and a good handwriting follow. Success awaits the plucky.

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PART SIX OR BOOK SIXComprises movement exercises, principles, thirteen small letters, fourteen capitals, figures, signs, words, and sen-tences; all graded and arranged to facilitate the learning of a practical, graceful, easy, rapid hand, with specific in-structions accompanying each copy, including a modern, simple, system of descriptive analysis.

Part Six or Book Six should not be attempted or practiced until after Part Six or Book Six has been practicedcarefully from beginning to end. as the letters therein are easier than the ones found in this, and lead to the onescontained herein and make them easier.

Every third copy is intended to be written crosswise on the paper over practice of previous copies, thereby utiliz-ing paper and at the same time learning to write in a straight line without a guide other than the eye.

Letters are given in groups according to similarity, the easiest ones being given first, each leading to somethingmore and more difficult, thus putting into practice and realizing the true worth of the old educational maxim: "fromthe simple to the complex."

Form and movement, for the first time, have been presented upon a par; neither having been sacrificed, but bothmade ready servants from the start in the art of learning to write well.

Capital and small letters are presented alternately, each to the benefit of the other; the capitals to make thesmall letters free, and the small letters to make the capitals less scrawling.

Movement has been inseparably connected with form, and not divorced from it as has heretofore too frequentlybeen the case. Learning correctly from the beginning is here made so easy and plain that no one need fail to acquirea good handwriting, as theory and practice, science and art. form and movement have been so combined that theroad to good writing is as plain as the proverbial "road to market."

Let ami rest and act freely upon muscle in front of elbow. Keep spacing uniform by watching doum strokes only.


The arm movement is the foundation of easy, graceful writing. The oval exercise with its various modifica-tions is the best form by which to train the muscles of the arm to act in unison. It should therefore be practiced untilit can be made quite perfectly, and then reviewed frequently. Make about 200 downward strokes to the minute,\ising nothing but pure arm movement.

Make each exercise without raising ihe pen or checking the rr.oi'on at the rate of about 1 50 down strokes a minute


Jse a semi-rolling, somewhat diagonal, in-and-out action of the tore-arm in making these exercises. Keep thefingers from contracting and expanding. Watching the thumb joint will disclose whether you are using the fingersor not. Ease of execution should be your aim. as that insures graceful lines and therefore graceful writing.

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Use a graceful, forceful, regular movement in this exercise, pause slightly in finishing the V. About 75 a minute.


This double-turn or compound-curve form is the best exercise to encourage a graceful, non-spasmodic movem

the arm movement method of rapid writing -...

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